The Poetic Signs of Consciousness in Charlotte Bronte's Jane Eyre - International Women's Day 2020

The Poetic Signs of Consciousness in Charlotte Bronte's Jane Eyre - International Women's Day 2020  

by

Dr. Mohammed Sameer Abd Elsalam

In her novel Jane Eyre, Charlotte Bronte revealed the inner poetic feminine energy of Jane Eyre through her paintings which represented her female identity, her consciousness, and unconsciousness.

These paintings also supported the development of the spiritual meeting between Jane and Rochester, and confirmed the concept of narrative identity according to Paul Ricœur, that Jane told her reader about the paintings through her subjective impressions, and her fantastic narration.

We can see the romantic, and expressive formations in Jane's feminine artworks which detected some of the mystic symbols, and unconscious signs sometimes.

We can see the feminine artistic tones in the discourse of the narrator of Charlotte Bronte's novel, that the paintings which created by Jane revealed her consciousness, and her inner paradoxes.

In her first work Jane implied to a mystic pleasure or a tragic pleasure that she foretold her feminine identity, and her own pain in a new poetic language, and she created new figure relations between her dream signs; such as crow, dead beautiful woman, and the blue sky.

In the second artwork Jane reproduced the poetic, and the cosmic identity of woman image which formed in her consciousness; that the imaginary sign of woman was entered the cosmic scene.

In her last dream, we can see the mystic unconscious dark signs, and the feminine artistic identity in the same time; the glow of female dream in the white flame sign, and disappearance of existence beyond the black cover.

I see that the three feminine dreams of Jane in Charlotte Bronte's novel are still inspirational, and also so effective on the international women’s day.

Dr. Mohammed Sameer Abd Elsalam                  msameerster@gmail.com 

        

                        

                                                   

The postmodern Spaces and Metaphors of Allan Kaprow

The Postmodern Spaces and Metaphors of Allan Kaprow  

Dr. Mohammed Sameer Abd Elsalam 


This is an avant garde, postmodern  performance work which was created by Allan Kaprow in 1961.
In his postmodern practice, Kaprow reminds me of the free play of signs according to Derrida, and Ihab Hassan's perspective  on the difference between purpose in modernism and play in postmodernism, and also between design in modernism and chance in postmodernism in his great table in his book about the postmodern turn.
Kaprow put us in an experimental,  metamorphic space to see the hidden infinite number and the metaphorical relations between the signs of car tires.
I love these dynamic interactions between our cognition, dreams and the probable,  metaphorical existence of things, that an artist, a viewer and signs are all in this huge, open artistic context.
why did Allan Kaprow choose the car tires?
He maybe intended to reveal the massive postmodern margin of the creative functions of signs and relative snapshots that we can reproduce them to interpret ourselves and our pluralistic worlds.
finally, we can put ourselves in these dynamic car tires as Kapow did to live in the relative state of the seduction, and to see some other lights of the dream signs which live under the phenomenal design and its growing or its hidden becoming of the internal relations between the thing and the postmodern performance.
msameerster@gmail.com

  

  

The Spectral Borders of Andy Warhol

The Spectral Borders of Andy Warhol 

Dr. Mohammed Sameer Abd Elsalam

I will talk about Andy Warhol's unique, postmodern design of shoes which was made in 1980.
In this masterpiece, Andy Warhol deconstructed the virtual signification of the artwork signs.
Warhol made three postmodern movements in the semiotic relations between the shoes; he revealed the musical harmony principle between the shoes and their hyper colors. At the same time, he made another reverse movement, when he created a new sense in the inner world of his viewer, that we feel that each one of these shoes has its own and isolated world; therefore, we can see a hidden, aesthetic and soft conflict between the shoes, and we can recognize its feminine dream signs which interacted with the poetic world of unconsciousness.
Warhol,also, made a poetic, postmodern irony, when he put the signs of shoes in an open field, and they remind me of the fantastic space images and the cognitive imaginations of the planets, because of Andy Warhol's postmodern spectral borders; that we can imagine some other metaphoric shoes beyond the fantastic area of the borders.
Dr. Mohammed Sameer Abd Elsalam
msameerster@gmail.com
Andy Warhol's shoes
at:
https://www.artsy.net/artwork/andy-warhol-shoes-with-diamond-dust